Digital video transmission over wireless networks

The advent of the Integrated Services Digital Network (ISDN) led to the standardisation of the first video codecs for interpersonal video communications, followed closely by the development of standards for the compression, storage and distribution of digital video in the PC environment, mainly targeted at CD-ROM storage. At the same time the second-generation digital wireless networks, and the third-generation networks being developed, have enough bandwidth to support digital video services. The radio propagation medium is a difficult environment in which to deploy low bit error rate, real time services such as video. The video coding standards designed for ISDN and storage applications, were targeted at low bit error rate levels, orders of magnitude lower than the typical bit error rates experienced on wireless networks. This thesis is concerned with the transmission of digital, compressed video over wireless networks. It investigates the behaviour of motion compensated, hybrid interframe DPCM/DCT video coding algorithms, which form the basis of current coding algorithms, in the presence of high bit error rates commonly found on digital wireless networks. A group of video codecs, based on the ITU-T H.261 standard, are developed which are robust to the burst errors experienced on radio channels. The radio link is simulated at low level, to generate typical error files that closely model real world situations, in a Rayleigh fading environment perturbed by co-channel interference, and on frequency selective channels which introduce inter symbol interference. Typical anti-multipath techniques, such as antenna diversity, are deployed to mitigate the effects of the channel. Link layer error control techniques are also investigated.

Digital dawn : a revolution in movie distribution?

How will the digital technology revolution impact the movie business? Hollywood developed a highly successful industrial system that has functioned well for almost a century in the sense that it enabled the Major film studios to largely control and dominate the industry. However, the new digital technology may now be propelling Hollywood toward the biggest technological transition since the creation of the studio system almost a century ago. For example, Major Hollywood studios are already beginning to provide video-on-demand (VOD) digital distribution of movies over the Internet. This article examines what is happening, and why. It sets out the background and the incipient changes already occurring. It makes an argument regarding the fundamental strategic dynamics, that acetate film was the key to the control of the Hollywood system, and speculates about how a shift away from acetate film to digital video may transform that system. The focus is on the impact on how the Major studios release and market their movies, and how new market and marketing opportunities for the low-budget independent filmmaking sector may arise.

Digital storytelling at QUT

Digital Storytelling is a powerful means for enabling communication and social participation. Ordinary people work with expert creative practitioners to create first person narratives for a wide and growing range of purposes, including community building, cultural engagement, brand identification and public communication. A digital story usually combines 15-30 still images and a recorded script of 100-250 words to create an original personal digital story in the form of a 2-3 minute digital video. This form of co-creative media takes advantage of newly accessible technologies but is based in the ancient and universal tradition of storytelling. Digital storytelling is being adopted internationally in a variety of institutional contexts. It was introduced at QUT by Distinguished Professor John Hartley in 2004 when he brought well known UK based digital storytelling expert Daniel Meadows to the Creative Industries Faculty to trainer researchers and Faculty in the technique. Since 2005 Creative Industries Faculty researchers have adapted digital storytelling for use in a variety of research contexts including heritage, youth welfare, health, and international development, in collaboration with a range of external partner organisations. More than 300 digital stories have been produced by QUT researchers, staff and students. These have been presented on the World Wide Web, broadcast on community media, released on DVD and exhibited in various forms. In addition CIF researchers have produced numerous journal articles, conference papers and books reporting the outcomes of research projects utilising digital storytelling in research. As a result of research activity the Creative Industries Faculty is now well positioned as a leading site for teaching and learning in digital storytelling. Faculty research activity in digital storytelling has generated interest in adapting the form for use in undergraduate and postgraduate Creative Industries curriculum and in service teaching, including short courses for external clients.

The digital-bricoleur: Contemporary screen-based visual art practices

This paper describes a practice-led methodology that combines contemporary art theory and processes, as well as concepts of fan studies to construct a space for the critical and creative exploration of screen culture. The research promotes new possibilities for purposeful creative engagements with the screen, framed through the lens of what I term the digital-bricoleur. This performative, link-making approach documents the complicit tendencies that arise out of my affective relationship with screen culture, mapping out a cultural terrain in which I can creatively and critically ‘play’. The creative exploitation of this improvisational and aleatory activity then forms the creative research outputs. It appropriates and reconfigures content from screen culture, creating digital video installations aimed at engendering new experiences and critical interpretations of screen culture.

Digital Photography in the Diagnosis and Follow-up of Ocular Diseases

Purpose: The aim of the present study was to develop and test new digital imaging equipment and methods for diagnosis and follow-up of ocular diseases. Methods: The whole material comprised 398 subjects (469 examined eyes), including 241 patients with melanocytic choroidal tumours, 56 patients with melanocytic iris tumours, 42 patients with diabetes, a 52-year old patient with chronic phase of VKH disease, a 30-year old patient with an old blunt eye injury, and 57 normal healthy subjects. Digital 50° (Topcon TRC 50 IA) and 45° (Canon CR6-45NM) fundus cameras, a new handheld digital colour videocamera for eye examinations (MediTell), a new subtraction method using the Topcon Image Net Program (Topcon corporation, Tokyo, Japan), a new method for digital IRT imaging of the iris we developed, and Zeiss photoslitlamp with a digital camera body were used for digital imaging. Results: Digital 50° red-free imaging had a sensitivity of 97.7% and two-field 45° and 50° colour imaging a sensitivity of 88.9-94%. The specificity of the digital 45°-50° imaging modalities was 98.9-100% versus the reference standard and ungradeable images that were 1.2-1.6%. By using the handheld digital colour video camera only, the optic disc and central fundus located inside 20° from the fovea could be recorded with a sensitivity of 6.9% for detection of at least mild NPDR when compared with the reference standard. Comparative use of digital colour, red-free, and red light imaging showed 85.7% sensitivity, 99% specificity, and 98.2 % exact agreement versus the reference standard in differentiation of small choroidal melanoma from pseudomelanoma. The new subtraction method showed growth in four of 94 melanocytic tumours (4.3%) during a mean ±SD follow-up of 23 ± 11 months. The new digital IRT imaging of the iris showed the sphincter muscle and radial contraction folds of Schwalbe in the pupillary zone and radial structural folds of Schwalbe and circular contraction furrows in the ciliary zone of the iris. The 52-year-old patient with a chronic phase of VKH disease showed extensive atrophy and occasional pigment clumps in the iris stroma, detachment of the ciliary body with severe ocular hypotony, and shallow retinal detachment of the posterior pole in both eyes. Infrared transillumination imaging and fluorescein angiographic findings of the iris showed that IR translucence (p=0.53), complete masking of fluorescence (p=0.69), presence of disorganized vessels (p=0.32), and fluorescein leakage (p=1.0) at the site of the lesion did not differentiate an iris nevus from a melanoma. Conclusions: Digital 50° red-free and two-field 50° or 45° colour imaging were suitable for DR screening, whereas the handheld digital video camera did not fulfill the needs of DR screening. Comparative use of digital colour, red-free and red light imaging was a suitable method in the differentiation of small choroidal melanoma from different pseudomelanomas. The subtraction method may reveal early growth of the melanocytic choroidal tumours. Digital IRT imaging may be used to study changes of the stroma and posterior surface of the iris in various diseases of the uvea. It contributed to the revealment of iris atrophy and serous detachment of the ciliary body with ocular hypotony together with the shallow retinal detachment of the posterior pole as new findings of the chronic phase of VKH disease. Infrared translucence and angiographic findings are useful in differential diagnosis of melanocytic iris tumours, but they cannot be used to determine if the lesion is benign or malignant.

Vidibus: a low-cost, modular bus system for real-time video processing

The advantages of standard bus systems have been appreciated for many years. The ability to connect only those modules required to perform a given task has both technical and commercial advantages over a system with a fixed architecture which cannot be easily expanded or updated. Although such bus standards have proliferated in the microprocessor field, a general purpose low-cost standard for digital video processing has yet to gain acceptance. The paper describes the likely requirements of such a system, and discusses three currently available commercial systems. A new bus specification known as Vidibus, developed to fulfil these requirements, is presented. Results from applications already implemented using this real-time bus system are also given.

How level and type of deafness affects user perception of multimedia video clips

Our research investigates the impact that hearing has on the perception of digital video clips, with and without captions, by discussing how hearing loss, captions and deafness type affects user QoP (Quality of Perception). QoP encompasses not only a user's satisfaction with the quality of a multimedia presentation, but also their ability to analyse, synthesise and assimilate informational content of multimedia . Results show that hearing has a significant effect on participants’ ability to assimilate information, independent of video type and use of captions. It is shown that captions do not necessarily provide deaf users with a ‘greater level of information’ from video, but cause a change in user QoP, depending on deafness type, which provides a ‘greater level of context of the video’. It is also shown that post-lingual mild and moderately deaf participants predict less accurately their level of information assimilation than post-lingual profoundly deaf participants, despite residual hearing. A positive correlation was identified between level of enjoyment (LOE) and self-predicted level of information assimilation (PIA), independent of hearing level or hearing type. When this is considered in a QoP quality framework, it puts into question how the user perceives certain factors, such as ‘informative’ and ‘quality’.

Watch-and-Comment as a Paradigm toward Ubiquitous Interactive Video Editing

The literature reports research efforts allowing the editing of interactive TV multimedia documents by end-users. In this article we propose complementary contributions relative to end-user generated interactive video, video tagging, and collaboration. In earlier work we proposed the watch-and-comment (WaC) paradigm as the seamless capture of an individual`s comments so that corresponding annotated interactive videos be automatically generated. As a proof of concept, we implemented a prototype application, the WACTOOL, that supports the capture of digital ink and voice comments over individual frames and segments of the video, producing a declarative document that specifies both: different media stream structure and synchronization. In this article, we extend the WaC paradigm in two ways. First, user-video interactions are associated with edit commands and digital ink operations. Second, focusing on collaboration and distribution issues, we employ annotations as simple containers for context information by using them as tags in order to organize, store and distribute information in a P2P-based multimedia capture platform. We highlight the design principles of the watch-and-comment paradigm, and demonstrate related results including the current version of the WACTOOL and its architecture. We also illustrate how an interactive video produced by the WACTOOL can be rendered in an interactive video environment, the Ginga-NCL player, and include results from a preliminary evaluation.

Comparison of learning between Digital gallery and Hands-on Laboratory

This thesis has been done in ROM (Royal Ontario Museum) located in Toronto Canada. It focuses on learning in two parts of the museum. It tries to find out how much each part is effective in terms of learning. Studies have been done in the Digital gallery, which has been equipped with digital video projector and workstation that allows visitors to interact with the collections in 2 or 3 dimensional spaces while they are watching the presenting film. The rest of the study was in Hands-on laboratory, which allows students to examine artifacts and discuss their findings .The method was used in this research is Concept mapping .In Digital gallery, 24 schools surveys in the form of pre-post- test by help of the concept mapping method has been done. In Hands-on laboratory, 12 schools have been studied by using the combination of interviewing and written pre post-test of concept mapping.

A scalable and extensible segment-event-object-based sports video retrieval system

Sport video data is growing rapidly as a result of the maturing digital technologies that support digital video capture, faster data processing, and large storage. However, (1) semi-automatic content extraction and annotation, (2) scalable indexing model, and (3) effective retrieval and browsing, still pose the most challenging problems for maximizing the usage of large video databases. This article will present the findings from a comprehensive work that proposes a scalable and extensible sports video retrieval system with two major contributions in the area of sports video indexing and retrieval. The first contribution is a new sports video indexing model that utilizes semi-schema-based indexing scheme on top of an Object-Relationship approach. This indexing model is scalable and extensible as it enables gradual index construction which is supported by ongoing development of future content extraction algorithms. The second contribution is a set of novel queries which are based on XQuery to generate dynamic and user-oriented summaries and event structures. The proposed sports video retrieval system has been fully implemented and populated with soccer, tennis, swimming, and diving video. The system has been evaluated against 20 users to demonstrate and confirm its feasibility and benefits. The experimental sports genres were specifically selected to represent the four main categories of sports domain: period-, set-point-, time (race)-, and performance-based sports. Thus, the proposed system should be generic and robust for all types of sports.

Video capture : pre-service teacher reflection, assessment or both

This paper reports on a small trial with 6 pre-service teachers who videoed their own teaching practices. The pre-service teachers used the tool to reflect on practice and to enhance their own understandings of themselves as teachers. The initial footage was used to by the pre-service teachers to gauge quite specific elements of their teaching: for example, were they asking effective questions, or were they responding appropriately to questions children asked and as always, what management strategies seemed to be working? Critical feedback from other students was initially „less than critical‟, but again over time, this also appeared to sharpen as they had more opportunity to use the technology. Initial embarrassment of being on screen was replaced with a professional approach to seeing the video as a tool for providing the opportunity to systematically deconstruct practices and for providing concrete feedback for improvement. Used in conjunction with teaching preparation courses, the videoed segments of teaching practice could be used to highlight exemplars, to show what actually happens in classrooms and to explain certain practices. Cunningham and Benedetto (2002) state “Recent developments in digital video technologies permit teacher candidates to collect, review, and manipulate video to demonstrate their growth as a professional and as a reflective practitioner.” However, in the development of the trial, the issue was raised by the pre-service teachers that they would be interested in keeping the videos as evidence of their teaching competence to be used in applications for teaching positions. In the small trial, ethics permission had not been gained for that to happen, but it is certainly a valid and viable possibility for the future. Currently prospective employers have to rely on paper applications which respond to selection criteria, evidence from pre-service teachers‟ teaching rounds and the subjective impressions of an interview. If students were able to present a 5 minute segment of them teaching, it might count for much more than any other evidence. Video capture of teaching practice would provide potential employers with an indication of a pre-service teacher‟s management strategies, relationships with children and a snapshot of a pre-service teacher‟s instructional practice. The idea of video-capture as a tool for pre-service teachers to illustrate teaching capabilities will be more fully investigated in this paper.

Video abstraction : a systematic review and classification

The demand for various multimedia applications is rapidly increasing due to the recent advance in the computing and network infrastructure, together with the widespread use of digital video technology. Among the key elements for the success of these applications is how to effectively and efficiently manage and store a huge amount of audio visual information, while at the same time providing user-friendly access to the stored data. This has fueled a quickly evolving research area known as video abstraction. As the name implies, video abstraction is a mechanism for generating a short summary of a video, which can either be a sequence of stationary images (keyframes) or moving images (video skims). In terms of browsing and navigation, a good video abstract will enable the user to gain maximum information about the target video sequence in a specified time constraint or sufficient information in the minimum time. Over past years, various ideas and techniques have been proposed towards the effective abstraction of video contents. The purpose of this article is to provide a systematic classification of these works. We identify and detail, for each approach, the underlying components and how they are addressed in specific works. © 2007 ACM.

Improved fade and dissolve detection for reliable video segmentation

We present improved algorithms for automatic fade and dissolve detection in digital video analysis. We devise new two-step algorithms for fade and dissolve detection and introduce a method for eliminating false positives from a list of detected candidate transitions. In our detailed study of these gradual shot transitions, our objective has been to accurately classify the type of transitions (fade-in, fade-out, and dissolve) and to precisely locate the boundary of the transitions. This distinguishes our work from early work in scene change detection which focuses on identifying the existence of a transition rather than its precise temporal extent. We evaluate our algorithms against two other commonly used methods on a comprehensive data set, and demonstrate the improved performance due to our enhancements.